The New York Times has a nice overview article on a new literary festival launching in Paris later this week, and run in part by Caro Llewellyn who directed the PEN World Voices Festival a few years back:
Paris is reaching out to recapture its place as a center of literature with a new festival of international writers that was set to begin Friday.
“There’s a sense in America that France is a country of culture, but when you are looking from the inside, a lot of people have been complaining that France needs to find its beating heart again,” said Lila Azam Zanganeh, a French-Iranian writer who now lives in New York and is one of the writers participating in the festival, Écrivains du Monde. [. . .]
The Écrivains du Monde festival may not, on its own, recreate the vibrant sense of literary experimentation and adventure of the first half of the 20th century, when Paris was home to the likes of Gertrude Stein, James Joyce, Samuel Beckett and Eugene Ionesco, but it marks a new appreciation of the primacy of international writing, in a country that despite a complex relationship with outsiders, has always embraced their contribution to the arts. [. . .]
The inaugural festival draws together some 28 writers from at least 18 countries. Most are not French themselves, but they have been translated into French and have a French following. The authors, who are speaking for small stipends, include some of the best-known fiction writers at work today: Salman Rushdie, John Banville, Richard Ford, Chimamanda Ngozi Adichie, David Grossman, Ma Jian and Michael Ondaatje. Also attending are several authors who write in French although not all of them are from France, including two from Lebanon and a Canadian-Haitian. The writers, who are coming for three days to Paris, with a few going on to spend two days in Lyon on Sept. 23 and 24, will hold intimate — and sometimes not so intimate — talks with their readers and literary enthusiasts. Panel discussions will take on topics like the challenges of translation, identity and conflict, literature and war.
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .